Pick two poets who seem to have nothing to do with each other — a Gothic American and a pastoral Englishman, say — and see where the catalogue actually joins them: overlapping years, shared ground, distinctive themes, and the poems that secretly rhyme.
Mary Monck, born Mary Molesworth about 1677 and dead in 1715, belongs to that important company of early modern women poets whose achievement was more substantial than their later reputation long allowed. She wrote at the meeting point of Restoration wit, Augustan order, religious meditation, private elegy, and the expanding culture of literary translation. Her surviving work is not vast, and its circumstances of pre…
Neighbourhood:
Devotional Poets, Irish Poets, Love Poets, Restoration Poets, Women Poets
Ealhswith of Mercia, conventionally assigned the dates c. 920–c. 970, cannot responsibly be presented as a historical poet. No surviving charter, chronicle, genealogy, monastic record, manuscript inscription, or near-contemporary literary testimony identifies a woman of that name as the author of The Wife’s Lament or of any other Old English poem. The name “Ealhswith of Mercia,” together with the narrative of an exil…
Neighbourhood:
Devotional Poets, Medieval Poets, Women Poets
Mary Monck:
anglo-irish society, robert molesworth, letitia coote, george monck, verses wrote on her death-bed at bath, restoration wit, augustan order, literary translation.
Ealhswith of Mercia:
mercian, the wife's lament, exeter book, anglo-saxon, tenth-century england, edward the elder, æthelstan, exile.
Poems that secretly rhyme
The closest poem-to-poem matches in critique space — the sort of kinship a listener hears before the catalogue admits it.